I stepped up to the large coffin and gave myself over to memories of my youth with Antony and Schell-the cons, the marks, the tricks. He lay there like he was carved from limestone, big and powerful even in death. Eventually, I touched his shoulder and said, "Okay, Antony," but before I turned away, I noticed something lying on the dark green satin liner, tucked in the corner to the right of his head. I leaned over and saw it was a playing card, turned facedown. My hand trembled as I reached for it. Flipping it over, I discovered the ace of hearts.

A sudden strong breeze, as if someone had thrown open a door, startled me, and I turned to see who was there, but the door was closed and the place was empty. That's when I noticed it fluttering above the center aisle, a simple pine white, like some ghost of a memory come to life.

ACKNOWLEDGMENTS

Whenever a writer delivers to his readers a novel that is set in a distinct historical period, as The Girl in the Glass is set in 1932 America, there is usually a good measure of research that has gone into the effort. Please keep in mind that I don't claim to be an historian. In other words, I never let the facts get in the way of following the fiction where it demands to go, but, that said, I did delve into many sources in the course of writing this book. I list some of them below, not to act the scholar, but I believe readers might be discovering one or two of the historical actualities presented herein for the first time and will want to investigate them further on their own.

Anyone interested in the concept of spiritualism as a con would do well to read the work of James Randi, internationally renowned magician and escape artist. He has a long list of very fine titles and is an engaging writer who rarely fails to amaze with his insight as to how less-than-reputable practitioners of the supernatural dupe their customers. The particular work of his I found most useful on this subject was Flim-Flam: Psychics, ESP, Unicorns, and Other Delusions. In addition to Randi, one can turn to the writings of the great Houdini himself, who penned a number of books, some of which remain in print, that dissect spiritualist techniques.

Before investigating the 1930s, I was unaware of the Mexican Repatriation that went on during that decade in the United States. In the 1920s and earlier many immigrants were welcomed into this country in order to serve as cheap labor for building the railroads and harvesting crops in western and southern states. With the onset of the Great Depression, though, the growing economic problems of the country and those in positions of power responsible for them found a scapegoat in immigrants. Many legal as well as illegal Mexican immigrants, along with children born in the United States, were forcibly deported back to Mexico. For an easily accessible and excellent essay on this subject, seek out Dr. Jorge L. Chinea's "Ethnic Prejudice and Anti-Immigrant Policies in Times of Economic Stress: Mexican Repatriation from the United States, 1929-1939" on the web at

http://www.people.memphis.edu/?kenichls/2602MexRepatriation.html.

For further reading, one can turn to the book Decade of Betrayal: Mexican Repatriation in the 1930's, by Francisco E. Balderramma and Raymond Rodriguez.

As someone who grew up on Long Island during the 1950s, 1960s, and 1970s, I was incredulous to discover the extent of influence the Ku Klux Klan once had in the area. During the 1920s it is estimated that one out of every seven people had some affiliation with the Klan. For a great essay on this phenomenon, seek out David Behrens's "The KKK Flares Up on L.I.," which can be found on the Web as part of a wonderful site constructed by Newsday that deals with many facets of the history of the island. There are also other fascinating articles to be found on this site written by Newsday staff reporters: http://www.newsday.com/community/guide/lihistory/ny-history-hs725a,0,7485380.story.

Unfortunately, the Eugenics Record Office is not a darkly fanciful invention but a true historical institution. Granted, my character Dr. Agarias, as well as his rogue experimental research supported by shady powerbrokers, is a fictional construct, but for coherent historical information about the ERO and its racist implications there are two excellent books for the interested reader-War Against the Weak: Eugenics and America's Campaign to Create a Master Race by Edwin Black and The Unfit: A History of a Bad Idea by Elof Axel Carlson. On the Web one can also find Image Archive on the American Eugenics Movement at http://www.eugenicsarchive.org/eugenics/ and "Carrie Buck's Daughter: A Popular, Quasi-Scientific Idea Can Be a Powerful Tool for Injustice" by Stephen J. Gould at

http://www.findarticles.com/p/articles/mi_m1134/is_6_111/ai_87854861/print.

I believe the correlation that my character The Worm makes between Henry Ford's invention of the assembly line from his knowledge of slaughterhouses and Hitler's assembly line of genocide can be traced back to the controversial but interesting book by Charles Patterson, Eternal Treblinka.

On a lighter note, for a wonderful Web site teeming with information about the history of Coney Island and its denizens, the reader should investigate Greetings from Coney Island authored by Jeff Stanton at http://naid.sspsr.ucla.edu/coneyisland/index.html. For information pertaining to butterflies in Schell's bugatorium, I consulted a number of basic field guides, and also a charming book An Obsession with Butterflies by Sharman Apt Russell.

In addition to the textual references listed above, I had great help on this book by way of early readers-Rick Bowes, Michael Gallagher, and Bill Watkins. For a firsthand view of Long Island in the 1930s, I repeatedly tapped my old man, James E. Ford, who grew up in Amityville and lived his whole life on the island. And for the Spanish spoken by Isabel in the course of the story, a way of denoting the uniqueness of the culture represented by her and Diego without too badly confusing readers of English, I solicited help from my college Spanish teacher and longtime friend, Patricia Manley, and also my Spanish-language guru, Gabe Mesa.

I also owe a great debt of gratitude for the support and encouragement of my editor, Jennifer Brehl, and her indispensable editorial advice, which helped to make this book the best it could be. And last but by no means least, a thank-you to Howard Morhaim, my agent, for his steadfast and valuable guidance.